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AV4

MODERN METHOD

FOR

(FINGER STYLE C NOTATION)

By FRANK C. BRADBURY

A new complete and easily understood method that will meet
the requirements of the student, the teacher and the modern
professional.

CONTENTS

FIRST RUDIMENTS OF MUSIC FOR BEGINNERS
HOW TO HOLD THE BANJO
HOW TO TUNE

HOW TO FINGER CORRECTLY
SCALES IN VARIOUS KEYS AND POSITIONS
EASY TUNEFUL PIECES FOR PROGRESSIVE EXERCISES

PLEASING DUETS

CONCERT SOLOS FOR THE PROFESSIONAL
HOW TO PLAY CHORDS - HOW TO FORM CHORDS
HOW TO PLAY FROM PIANO PARTS

PRICE IN U.S.A.# 1.35 .

* •

Wffi J. SMITH MUSIC CO.,INC.

214-16-18 East 34tli St.

NEW YORK, N.Y. U.S.A.

RULES FOR TAKING CARE OF THE

BANJO

and other Banjo Instruments
THE HEAD

A taut head is essential to the production of a good
snappy tone. If the head is too loose, the tone will be
greatly impaired.

To tighten the head, take the key or wrench that is
made for this purpose, and tighten up the nuts on the
strainer hooks; turn each nut only a little at a time. This
will bring the head down gradually without breaking it.

Be careful not to tighten the head too much, and don't
tighten it on a damp day.

THE BRIDGE

The correct position of the bridge is necessary to
insure a perfect scale; hence the bridge must be set the
same distance from the 12th fret, as the distance from this
fret to the fingerboard nut. These rules being carefully
followed; the 12th fret will then be half-way between the
bridge and nut.

MODERN METHOD

FOR

(FINGER STYLE C NOTATION)

By FRANK C. BRADBURY

A new complete and easily understood method that will meet
the requirements of the student, the teacher and the modern
professional.

CONTENTS

FIRST RUDIMENTS OF MUSIC FOR BEGINNERS
HOW TO HOLD THE BANJO
HOW TO TUNE

HOW TO FINGER CORRECTLY
SCALES IN VARIOUS KEYS AND POSITIONS
EASY TUNEFUL PIECES FOR PROGRESSIVE EXERCISES

PLEASING DUETS

CONCERT SOLOS FOR THE PROFESSIONAL
HOW TO PLAY CHORDS - HOW TO FORM CHORDS
HOW TO PLAY FROM PIANO PARTS

PRICE IN U.S.A.# 1.25

Wffi j. SMITH MUSIC CO.,INC.

214-16-18 East 34th St.

NEW YORK, N.Y. U.S.A.

IStSTSI

Marks

Lpiece

Rudiments of Music 8

Musical notation is composed of various signs and characters. The first to be noticed is
the staff, consisting of five parallel lines and the spaces between them. On the lines
Ind in the spaces, characters called notes are written to represent the sounds..

The Staff and Notes

Immediately below and above the staff are the following two notes, D and G.

Higher and lower pitches, or sounds, than the above, are represented by short lines
called leger or added lines, written above or below the staff.

Leger Lines and Notes

The notes are named after the first seven letters of the alphabet and are employed over
and over again; and when written in regular succession, with the first note repeated— after
the seventh, a scale of eight notes will be formed; thus: A, B, C, D, E, F,G,A. Any one of
the first seven letters may be the first or beginning of a scale; as: C, D, E, F, G, A, Bj C.

Treble Clef

The Treble Clef, made thus ^, is always placed at the beginning of compositions forthis
instrument. It establishes the note G, on the second line of the staff and from it, all
other notes are determined; either ascending or descending, as in the following example.

The Time Value of the Notes and Rests

The value or duration of the notes and rests are represented by the following characters.

The Different Notes and Rests

Dotted Notes and Rests

The time value of any note or rest is increased one half when followed by a dot.
A second dot adds half the value of the first dot. Rests indicate silence.

Dotted Notes and Rests

and their equivalents

only the first is sounded and the others heard from its continued vibration: as in the above
examples.

The Pause or Hold

Made thusVTv, when placed over notes or rests, denote that they are to be held beyond
their regular time.

Examples of the Pause

/C\

m=e± i

- 0 -i

■ >

t= ¥=

/7\

rj « i

~ g ~ I

— ?—

-f-

f :

Bars— Measure

Bars are perpendicular lines drawn across the staff for the purpose of dividing the notes
into measures of equal duration of time. Double Bars denote the end of apart or strain.
Dots placed before a double bar indicate that the part is to be repeated.

Example

yQ u

cfl

O P3

Measure Q

Table of the Relative Time Value of Notes

A Whole note
equals

Two Half notes
or

Four Quarters
or

Eight Eighths
or

16 Sixteenths
or

P ■ P C_/
p' p LJ [ r r r

t_r

c_/

32 Thirty-seconds
or

64 Sixty-fourths

Chromatic Signs

These are the Sharp ($), Flat(!>), Natural (|p, Double Sharp (sc),- and Double Flat iW).
A Sharp raises the pitch of a note a half step. A Flat lowers the pitch of a note a half step.
A Natural cancels the effect of a previous sharp or flat.

A half step is from one fret to the next.

Sharps or Flats placed at the beginning of the staff, immediately after the clef is called
the signature and affects the pitch of all notes of the same name throughout a piece of music,
unless temporarily changed by a different sign.

Accidentals

When any of the chromatic signs are placed before notes in the course of a piece of music,
they are called accidentals, and affect all notes of the same name, in the same measure, unless
contradicted by a different accidental, in which case, the effect of the first accidental ceases.
The effect of accidentals do not extend beyond the measure in which they occur.

Examples ’of Accidentals

i ~ i i

-#-

-Ifn_ m

; m tta —w" m ‘ irm

.... , r -...

m i .

V 1 ...:.V —J

—:

Double sharps and flats are used as accidentals only. A double sharp (x>, raises the
pitch of a note a whole step. A double flat (\>\>) lowers the pitch of a note a whole step.
When a double sharp is placed before a note that is already sharp, it raises its pitch an¬
other half step. A double flat placed before a note that is already flat, lowers its pitch
another half step.

Examples of Double Sharps and Flats

A mote that is double sharp or flat is restored to a single sharp or flat by writ¬
ing a natural and a sharp, or a flat, as required, before the note. To entirely can¬
cel a double sharp or flat, a double natural (typ is placed before the note.

Examples

restored restored canceled canceled

Time

Time is the division of the different notes, or notes and rests, into measures of
equal duration. A measure can contain any denomination of notes and rests, but the
sum total in value must be the same in all, as long as the time remains unchanged.
The time is marked at the beginning of a piece of music, by figures or signs to indicate
the quantity in each measure; as in the following examples.

Examples

The stringing of the banjo

The regular banjo is strung with five strings, named from the notes to which they
are tuned. They are also called by number beginning with the string farthest from the
performer (with the banjo in playing position) thus: D or 1st string, B or 2d string,
G or 3d, C (bass) or 4th, and G or 5th, or thumb string. The banjo is a tenor voiced in¬
strument and though the music is written for it in the treble clef the notes actually soutid
one octave lower than written. This makes the tuning of the banjo,to the piano, as follows:

Tuning

BANJO

PIANO

Tuning by fret

Tune

4 th

string

C below

middle

piano.

v 9

unison

to the tone

7th fret

string

77 - 77

4th »

1st

77 77

3d ”

5th

77 77

5th ”

Position for playing the banjo

The banjo rim shoiild rest on the right thigh, the body being erect . The neck of the ban¬
jo is supported lightly in the left hand between the first finger, just below the knuckle
joint, and thumb. Curve the fingers of the left hand so that the tips may press on the
strings. Never raise a L. H. finger when placed until necessary, especially in ascending scales.

The right forearm rests lightly over the rim bringing the right hand into playing posi¬
tion. The right hand little finger’rests lightly on the head about one and a half inches from
the bridge, the other fingers curving naturally to the picking position, the thumb position be¬
ing so that it strikes the strings at least one inch in advance of the 1st finger. The thumb
must always strike the strings in advance of the fingers and should be kept straight at all times
using a whole thumb striking down motion. The strings are picked with the tips of the fingeris
(never the nails) and do not pick too deep or lift the string causing a disagreeable“hooked”tone.

Bradbury Banjo Method

4th string

3d string

Open Strings

2d string

1st string

5th string t

-Q

No.l

Open string exercises

J -J j J lj j. J J I j; J ■ j

12 3 4

Count 12 3 4

Keep R. H. fingers in picking position on strings when picking with the thumb.

M ___I 0 _l_L

l--f-.r J

r u r i.-g:4i-- =p

. *• I. X !• X « ,

*=*^ -1*'*^^ J If

X | \ ~

X X

j —

r iff r.r i f

p. m i r r

f rmin

]» J ||» | » p =p

^ (Waltz time)

ft* J r r i J e

•'Countl 2 3 1

Count 12 3 4

* f I J f ftt EEf

Notes on C or 4th string

No. 2 L. H. fingering = upper figures. Frets = lower figures.

3 =- 4 - «j.J 1 j i

-4-

-4-~

^sr^w

No. 3

Notes on G or 3d string

J m .. . J rJ . I J -i... — M

J * J 'i 1 * J J 3=i

p=±

No. 4

0 2
G A

Notes on B or 2d string

i£

ntr c nrT r r »r r rr irrrmTTtrrE

0 1 0 1 1

No. 5

B C

Scale of C Major (1st octave)

y gg

Frets o 2

No. 6

4 ^

5 0 2 01

Exercises on C G and B strings (eight notes)

Count 4 - 1 2 3 4 - 1 2 3 4

No. 7 Dotted lines mean to keep down L. H. fingers.

4 4 luTirQT^

i V'Tr'l i r^oJI 1 °r aj °J HV *f

O.J. I J. I 1 V 1 - * 2 *— - - 1

L.H. FINGERING

The signs 0 for the open string, 1 for first fin¬
ger, 2 for second finger, 3 for third finger, and 4 for
fourth finger, are used in this work.

* On these preliminary exercises use “straight” picking, that is, the thumb picks the-'Sth, 4th and 3d strings,the
1st finger picks the 2d string and the 2d finger the 1st string.

R. H. FINGERING

* For. thumb •• Second finger

• First finger ••• Third finger

Bradhury Banjo Method

Notes on D or 1st string (1st position)

No. 8

L.H.

No. 12

(1st finger should be down when finished)

Yankee Doodle (f- time)

Count 4 12 3 4

(or) — 1 — 2 —

Chord exercise

No. 16

Lively

G7 : : C C F

Sweet Hoe Cake

i i i i i
F G7 C

I I l
G7

No. 19

Count 1 — 2 — 3 —

Exercise in Right hand alternate picking

x • X • X •. X • X • X

Hereafter all scales, etc.,will be played with the alternate picking.

Repeat 4 times

Bradbury Banjo Method

Alternate picking exercises

No. 20

No. 21

With 1st finger accent

Count 1 2 3 4 5 6

Pay strict attention to the dotted lines and keep L.H. fingers down.

♦ A triplet is three like notes played in the same time as two notes of like time value.

Bradbury Banjo Method

Polly

BANJO DUET

COLLEGE SONG

Hr adbury Ba njo Method

Uncle Ned

Bradbury Banjo Method

Continued right hand practice

In playing bar positions keep the second joint of the bar finger higher above the fingerboard
than the tip of the finger thus keeping a direct down pressure.

Triplet Waltz

No. 29

NOTE *(A) Every fret on the banjo is named a position. Where the 1st finger is placed determines the position.
A bar position or bar is made with the first finger flat across the strings.

NOTE *(B ) Figure in circle thus ® denotes the string on which the note is to he played.

Bradbury Banjo Method

Practice slowly and evenly, gradually increasing the tempo until a good degree of proficien¬
cy is reached in reading the notes on the various strings.

Exercise on 2d string

No. 32

1-1 3

Bradbury Banjo Method

Exercise on 3d string

Bradbury Banjo Method

Grace note study

No 39 (A- short grace note takes time from the principle note)

w — . x .. •• X • X . x • '

Tlie_minor scales as given in this book except as otherwise stated are in the melodic form.
See explanation of the minor scales in forepart of treatise on Chords, Page 58.

Chords in A minor

No. 41 2 Bar.- - -

Bradbury Banjo Method

Banjo Dance

BANJO DUET

F. C. BRADBURY

Pupil should also learn to play the 2d part in duet.

* Play near rim for soft (p) or (pp) passages and near bridge for loud or (ff) passages.

Bradbury Banjo Method

Bar positions (Continued)

B°or G 7 C

Practice for a steady tempo on above; carefully observing- tlie L.H. fingering and carrying
of same on fingerboard as indicated.

Arpeggios

When practicing these arpeggio exercises always have the first and second R. H. fingers i
picking position on strings as thumb starts picking.

No. 48

NOTE.*A *B Studies No 46 and 47 may also be used for arpeggio practice,

Bradbury Banjo Method

BANJO SOLO

Jolly Boy

One St ep

DON BAXTER

* Snap the string by pulling the L.H. finger, thereby sounding the second note of the slur

Bradbury Banjo Method

Scale of G major

* This sign is for alia breve (meaning double quick) and is commonly called cut time. To be played as
in time, or two beats to the measure. Bradbury Banjo Method

Repeat this exercise using - 2d system, on 2d and 4th strings.

Bass to D tuning (or Elevated bass)

Many banjo pieces especially in keys of G and D major and E minor are written for the
elevated bass tuning or bass to D (one whole tone higher than usual). It makes the positions
easier for certain styled work.

No. 54

Bass to D ^

The Old Timer

Galop

Bass to D
Allegro

FRANK C. BRADBURY

D. SI.

D. C. al Fine

* D. SI. or Drum slide, executed with the nails of the R. H, fingers; commence with 4th finger and let all the
fingers pass, over the.strings in rapid succession. There should be a slight wrist motion across as the 1st
fi®ger passes over the strings.

Bradbury Banjo Method

.12 Bar Pos.

Played in 12th Position

12 B; . © major chords in the 12th position

No* ov i _ ” 4 1

12 B

Arpeggios u P .

HT ©

Study in slur work (the snap) ^
Descending slur

No. 61 Position playing for scales

On account of the length of the banjo fingerboard it is necessary to play rapid runs, etc., in
their most adaptable position so as to make the playing of same easy and smooth. In such manner
will the scale studies in this book be given. The following examples show what is meant by
adapting”positions to^make^the playing sound well in its rendition. The group of notes being

^ which group is shown in four different positions and uses, as

y n 2 Bar

i(2)

adapted is the triplet
follows: ,

It is readily seen that the retaining of the position as in Ex.(l) (2) and (4) is best. Ex.(3)
showing a good way of playing the group where speed is wanted.

Bradbury Banjo Method

No. 62

The Quilting* Party

5B.

No. 69

Chromatic scales

(Succession of half tones)

o -12 n 3 t 1

Repeat 4 times

Chords in F major

173

Bradbury Banjo Method

Dedicated to George Coon, Hartford, Conn .

BANJO DUET

Tango Jo

FRANK C. BRADBURY

Moderato t 3 * 5Bar

Q ^ ^ £ 4 ^ ■-. 4 L

Bradbury Banjo Method

Scale of D minor (relative to F major)

No. 77

10 B.

2 4®

3 ll2

i I 2 , 1

tel*

1 0 . 4 2

Bradbury Banjo Method

To my Friend, Fred J. Bacon

1st BANJO

C Notation

Indianjo

Moderato

FRANK C. BRADBURY

I'JJH M91

■Tf# ■K.fc—■

■ V; JTVSM

a ■ mi-; rw

uJr.J

Used by permission of W? C. Stahl, owner of copyright. Obtainable for full Mand. orchestra

D. C .< al Fine

Bradbury Banjo Method

Pupil to study 2d banjo part also

Bradbury Banjo .Method

Important: to the teacher: As each different key is taken up have the pupil take the primary
chord groups and dom. 7th chords etc. in chord part of book page 66 as chord exercises.
Assign chords in key as taken.

Bradbury Banjo Method

♦ Sign to repeat the previous measure.

Bradbury Banjo Method

d). x x © <D ® ©©

No. 93 should be memorized and practiced faithfully until it can be played evenly and at
a good speed. Always produce good tones. Keep the 1st finger on the (D string.

Bradbury Banjo Method

” . • ©

(In playing; No.97 be sure and carry the diminished triad position on the fingerboard.)

-jy 0 gg Exercise for stretching the L.H.

5 Bar - - - - - - - ‘ 4 " “ “4 “ *" “ - ;

Hold the 5th Bar for first three measures. Repeat 4 times.

*CO_In practicing Nos. 94,95,96 be syre and retain L.H.fingers on fingerboard as placed in ascending scales.

Bradhury Banjo Method

Scale of B\> major

Bradbury Banjo Method

To my wife

Romance

BANJO SOLO

FRANK C.BRADBURY

Andante expressiyo

5B, «tf‘ .

7B.

_ 2

3B.

ra ■ ^■Kin**4SiaSnria!"

iwjr^
■ ftl jIZM

m JMr:i^unu<.<
nr i*ua

M mimwt

MiAlM JMffl

imvtM

■ tlMHHk*..

mIInKbi

feM JHI M

oresc.

jsT ®

Bradbury Banjo Method

C minor study

Bradbury Banjo Method

ilk

Harmonics

HARMONICS (natural) are made by touching the string lightly with one of the L.H. fin¬
gers (regularly the 3d) directly over the desired fret, pricking the string at the same time as
the L. H. finger meets the string. The L. H. finger should be laid flat onto the string touch¬
ing it with the ball of the finger only. The L. H. finger is removed immediately after picking
the string. These harmonics are called L. H. harmonics and can be made at the 4th, 5th,
7th, 9th, 12th, 16th and 19th frets and on the 17th fret © string. Harmonics are regularly
indicated in banjo music by the abbreviation Har. or H. placed over a note and the string
and fret marked.

No. 116

G scale in L.H. Harmonics

Bight Hand Harmonics

Right hand or artificial harmonics are made by placing the tip of the 2d R.H.finger
lightly on the desired fret and picking the string back of the 2d finger with the thumb, re¬
moving the finger immediately. The 2d R. H. finger is placed at a position 12 frets higher
than the L.H., finger, which is holding the desired tone. R.H. harmonics thus made sound
one octave higher than the original note held with the L.H. finger. For.example the R.H.
harmonics Cl/ is wanted. Place the 2d finger L. H. on 2d fret (D string as usual and make
the R. H. harmonic from the 14th fret (D : Practice No. 116 above in R.H. harmonics, also
any simple melody.

Harmonic Waltz (L. H. Harmonics)

Play accompaniment very lightly .

Bradbury Banjo Method

BANJO SOLO

C Notation

To my Friend Oeo . L. Lansing

Monomoy

Characteristic Dance

FRANK C. BRADBURY

Moderato

1 s

n n

UsedDy permission of WE 1 C. Stahl, owner of copyright. Piano Acc^ may he obtained for this solo.

\ Bradbury Banjo Method

Scale of A major

Repeat 4 times

Chords in F# minor

For good chord practice in all keys take the chord series in chord section P. 68 . Also the
modulations Pages 71 and 75.

Bradbury Banjo Method

Scale of E major

No.131

Scale of C# minor (relative to E major)
. 2

Transpose the above form of arpeggios and play likewise in keys of At, A, Bk, B and
C major.

Bradbury Banjo Method

ome Special ns

(D® “ ©® = etc.

0 ®

Ex.(5) Executed by steadily sliding the 1st and 2d L.H. fingers down to G arriving on
G on the 1st beat, picking the ® and CD strings rapidly all the while as marked.

Explanations of above examples

Many times the 5th string is the easiest string to use for certain effects, when the L.H.
is in certain positions. The above examples show advantageous uses of the 5th string as
follows: No.(l) showing a handy way to play grace notes when in right position: No.(2) show¬
ing how rapid triplets, etc. using double picking maybe executed employing the 5th string
No.(3) gives a very good accentive method of playing rapid triplets putting the thumb accent
on ©string: It also gives a unison effect, the 1st and 5th being played together: No.(4)gives
a method to like wise play triplets, unisons, or rapid triple grace notes: No.(5) is a “freak”
effect sometimes used on breaks, etc. A similiar effect can also be gained by tremoloingthe
1st string and making the downward glissando:

Good Left Hand Practice

12 Bar

The Blue Bells of Scotland

BANJO SOLO Varied mc vicar

The Finger Tremolo

Position

The right hand assumes a different position for the finger tremolo than it does for
picking. Rest the 2d and 3d fingers on the banjo head, letting the hand tip a bit towards
the performer. The 4th finger does not rest on the head. The oscillation or swing of the
1st finger, is taken from the 2d joint, a rapid swing motion being used and allowing the
very tip of the finger only to touch the string. Keep the thumb in about the regular pick¬
ing position. When one can obtain a good even tremolo on the single strings, then the
chord tremolo and picked accompaniment work may be started. The finger tremolo will
take a great deal of practice to master. Always start the tremolo with an in stroke of
the 1st finger and close it with an out stroke unless on single inside strings. In that
case close with an in stroke. Notes to be tremoloed, are so marked in banjo music with

abbreviation Trem. or thus: £ When the tremolo with thumb accompaniment is called for,

the notes to be tremoloed are written stems turned up, while the picked notes are written
stems turned down. The finger tremolo is one of the most artistic effects obtained on the
banjo.

No. 133*

Tremolo exercises

(Single string)

Repeat each exercise many times.

3 ,_

Fi n e f

F.S,

* Repeat No. 133 on 2d and 3d strings.

Bradbury Banjo Method

The Finger Tremolo

When tremoloing on two or more strings more entire finger swing is taken. When playing
on the inside strings bring the hand more over the strings and the 2d and 3d R.H. fingers may
rest on the 1st string in case you are tremoloing the 2d and 3d strings. In case the 3d and 4th
strings are being played the 2d and 3d R.H.fingers may rest on the first two strings.

Tremolo Exercise on 2d and 3d strings

The Finger tremolo with thumb accompaniment
Preparatory exercises

Pick

Melody tremolo with thumb arpeggio

Juanita

Cadenzas

A cadenza is an ornamental passage or flourish introduced into a piece, for the purpose
of displaying the performer’s skill, or to effect a modulation, or to bridge over an awkward
pause between two movements. The examples given below are excellent practice.

N°. 141 rs' t* 2

(1) T r -- - .*.. a.. .

x •• • X • X

Bradbury Banjo Method

Dictionary of Musical Terms

Accelerando . .. . .

.. Gradually quicken the time.

Largo .....

. Slowest time.

Adagio. .

. Slow.

Legato .

. Close ) smooth J connected.

Ad libitum or ad lib. .

. Left to the taste of the per-

Leggiero . . . .

. Lightly.

. former .

Lento . .

. Same as Adagio, slowly.

Affettuoso. . . .

. Affectionately .

Loco . , . . .

. Place the notes to be performed

Agilita .

. Lightnessj agility.

. as written.

Agitato .

. Agitated, hurried .

Maestoso . . .

. Majestic, stately.

Allegretto ....

. Moderately quick.

Marcato .....

. Marked, accented.

Allegro, .

. Lively .

Melody .

\. A succession of simple sounds.

Amoroso .....

. In a tender style .

Meno Mosso

. Slower .

Andantino .

. Flowing, moderately slow.

Mezzo . ...

. Medium.

Andante .

. Flowing easily onward.

Moderato ....

. Moderate time.

Animato .

. With air.

Molto . . . . .

. Much, extremely.

Appassionato ....

. With intense motion .

Morendo .

. Gradually diminish the tone and

Arpeggio .

. The notes of a chord performed

. time.

. in succession.

Non troppo . . .

. Not too much.

a tempo .....

. Return to the original time.

Obbligato ....

. Indispensable, necessary.

Barcarolle ....

. A boat song.

Octava, or 8va .

. Written above a note passage,

Bis ..

. Twice. Written over a passage

. ptay an octave higher, written

. to be repeated.

, • • •

. below, an octave lower.

Brillante .

. Bright, sparkling.

Piano,or p . . . .

. Soft.

Cailtabile .

. In singing style.

Pianissimo, or pp.

. Very soft.

Coda .

. The concluding movement.

Piu mosso ....

. Quicker f more animated .

Con brio . - .

. With live, brillancy

Poco a poco

. By degree, little by little.

Con moto .

. With motion, rather quick.

Presto . . .

. Very quick.

Con spirito . . .

. With spirit.

Prestissimo

. Quickest time.

Crescendo, or cresc. or .

. Increasing hi loudness.

Rallentando, or rail. .

. Gradually slacken the time .

Da Capo, or D. C.. . .

. Repeat the first part.

Rinforzando

. Strengthened, re-enforced.

Da Capo al Fine . .

. Repeat the first part to Fine.

Risoluto . .

. In a resolute manner.

Dal Segno, or D. S. (£0 .

. Repeat from sign .

Ritardando, or rit. .

. Gradually slacken the time.

Deciso .

. With decision.

Scherzando.

. Playfully.

Decrefccendo . . .

. Gradually diminishing.

Scherzo ....

. A little composition .

Diminuendo, or dim. or .

. Gradually softer.

Segno (£0 ....

. C See dal segno) -.

Dolce . . . .

. Sweetly.

Sempre . . . . .

. Always.

Doloroso . . .

. Sorrowful.

Sostenuto ....

. To sustain the sounds.

Facile ......

. Light, easy.

Sotto voce .

. In an undertone.

Fine .

. The end.

Staccato, or (i) .

. Detached, short.

Forte, or f. . .

. Loud.

Stringendo . . . .

. Pressing, accelerating .

Fortissimo, or jQf .

. Very loud.

Suivez . .

. Follow pursue.

Forzando, or fs .

. Suddenly louder ^immediately

Syncopation

. Change of accent from a strong

. diminishing.

. beat to a weak one.

Fuoco .

. With fire, energy.

Tacet .

. To silence the part so marked.

Grave . . ....

. Sloivest time.

Tempo .....

. Time.

Grazioso .

. Graceful.

Tutti .....

. All,- all the instruments.

Largamente ....

. In a broad style.

Yeloce . .

. Quick, rapid, swift .

Larghetto .....

. Slowly.

Yivace . . . . .

. Moderately quick.

Bradbury Banjo Method

Chords

Scales

THE C MAJOR or NATURAL SCALE (Form for all major scales)

l l V2 l 11

. . » — * * *~ ==

qdEFGABC

(Degrees) 1 2 3 456 7 1

The half tones are between the third and fourth and the seventh and eighth degrees
of the major scale. Between all other degrees are whole tones. The above formula ap¬
plies to any key note. The names of the degrees of the scale are as follows :
i TONIC, 2 super tonic, 3 mediant, 4 SUBDOMINANT, 5 DOMINANT, 6 submediant, 7 leading
tone. As all chords are built from the scales particular attention must be given to learn¬
ing and understanding them.

Minor scales

(Minor means less)

The harmonic minor scale (used for harmonic purposes) differs from the major scale
in that it has its 3d and 6th degrees minor instead of major (half-tone less.) The suc¬
cession of a harmonic minor scale is therefore : No.(l)

No.(l)

1 1

1/2 % u %

. »-

B C

D E F

Gi A

2 3

4 5 6

No .(2)

*/2 1

4 1 1

V .■*» ;

V 2

A B C D E Fit Gt A

1 2 3 4 5 6 7

No.(2) shows the melodic minor scale, a matter for general knowledge but notusedhar-
monically. It has the 3d degree likewise minor. The 6th and 7th degrees however are
major in the ascending scale and minor in the descending scale.

Intervals

An interval is the difference in pitch that separates two notes. Intervals are counted
upward from the lower to the higher ndte. They are named from the number of degrees of the
scale which they occupy; and from the number of tones and semitones which they contain.

Bradbury Banjo Method

The lower tone must be considered as the tonic (l) tone of the diatonic scale, then
we may tell what the interval is, counting upward to the higher note, thus:

Primes

or Unison Seconds

Thirds

Fourths Fifths Sixths Sevenths Octaves

The above gives us the numerical name only of the interval, which is not affected
by any accidentals before either tone.

The SPECIFIC name of intervals refers to the chromatic modifications of the diatonic
intervals of the scale.

Unisons
Fourths |
Fifths |
Octaves

are called Perfect.

Seconds \

Thirds I are called major or
Sixths i minor accordingly.
Sevenths /

Any interval may, by the use of accidentals be expanded or augmented; or be contract¬
ed or diminished.

Perfect or Major intervals are augmented by one chromatic semitone.

Perfect or Minor intervals are diminished by one chromatic semitone.

Major intervals are diminished by two chromatic semitones .

Minor intervals are augmented by two chromatic semitones .

Specific or different kinds of intervals

Seconds Fift

major augmented j a

Fifths

diminished perfect

augmented

Bradbury Banjo Method

Chords

A combination of three or more tones— erected in thirds on a given (root) tone or de ¬
rived by inversion from such a combination is called a chord.

. E 3 C major triad. (C is the root, E the major third and G a perfect fifth.)

A chord with three tones is a triad ; with four a seventh chord*, and with five tones,a ninth
chord. Any of the tones in a chord may be doubled however and not effect the character
of the 'chord.

|— { C major chord with root (l) doubled.

A chord is named from the degree of the scale upon which it was founded . (Tonic I, or Bom.
V, etc.) This fundamental tone is called the root. When the root is in the bass the chord
is said to be in fundamental position. When any other tone is in the bass the chord is said
to be inverted. *

Relative Major and Minor keys

Every major key has a relative minor key (nearest in tonality) The 6th degree of the
major scale is taken as the tonic of its relative minor scale.

Scale of C major

Examples (Harmonic minor scales)
A minor scale

Relative to C major ** ma J or

E minor scale
Relative to G major

The Triads

As stated the scale is the foundation for all chords. They are erected in thirds on a
root tone. That root may he any given scale tune, the chord being called by the name
of the degree of the scale upon which it was founded. Thus to build a C major tonic tri¬
ad or chord we take C (root) E (third) G (fifth) thus:

This would be called a major triad, and therefore a major chord is composed of
MAJOR CHORD Root - Major 3d - Perfect 5th

(A major 3d has four semitones and a perfect 5th has seven semitones.)

Likewise to build a minor triad we take the harmonic minor scale and take A (root)
C (third) and E (fifth). This would be called a minor triad and is composed of

MINOR CHORD Root - Minor 3d - Perfect 5th

(See Example 2)

(A minor 3d has three semitones.)

Likewise all the triads can be formed on any degree of the scale, thus:
Ex.(3)

I tonic triad or C major triad.

II supertonic triad or D minor triad.

III mediant triad or E minor triad.

IV subdominant triad or F major triad.

V dominant triad, or G major triad .

VI submediant triad or A minor triad.

VII leading tone triad or B diminished triad.

*(b) The 0 means diminished.

*(a) The m signifies minor.

Bradbury Banjo Method

The major and minor triads

(Adapted to the banjo)

Three string inversions with root on 3d, 1st and 2d strings.
The lines denote position of the root.

C major

MAJOR

RELATIVE KEYS
A minor

MINOR

•Memorizing the Pour string Major and Minor chords ^3

After learning the triads and their inversions ip 3 string forms we have the 4 string
forms. The triads with root, third, or fifth doubled, regularly the root or fifth. In
taking up the 4 string chords they will be arranged, so as to establish a system where¬
by to make them easier to memorize, as follows; 1st form with root on 4th (bass) string;
2d form, root on 3d string; 3d form, root on 2d string; and the fourth inversion with root
on 1st string.

MAJOR

Root on string as
Cmajor ® @ ©

RELATIVE KEYS

A minor

MINOR

indicated in circle
® ® ©

Dominant Seventh Chords Inversions (3 string)

The dominant seventh chord is founded on the dominant degree of the scale (V) thus;

A dominant seventh chord therefore has

Root - Major 3d - Perfect 5th - Minor 7th

The root, third, and fifth alone would comprise the dominant triad.

Many times in dom. 7th chords the 3d or 5th is omitted.

A dom. 7th chord is a chord of resolution,that is— it must resolve to another chord.
Something more to follow is demanded by the ear. Dominant 7th chords generally resolve
to their tonic (major or minor) chords, or pass to another seventh chordjthat to be resolved.

Three string Dominant seventh chords

(with 5 th omitted)

Root on string as indicated by figure in circle.

Bradhury Banjo Method

Pour string Dominant seventh chords

Taken on same system as four string major and minor chords.
Root on string as indicated by figure in circle.

said strings, and regularly more so than the four, string forms.

Dominant 7th chords with only the 3d, 5th and 7th often appear in arrangements, espec¬
ially in melody and chord playing. Below are the forms given in the most used keys.

Bradhury Banjo Method

Dominant Seventh Chords

As the dom. 7th chords are very important being- so often and regularly used,a fur¬
ther classification is given. This shows all three string forms passing up through the
positions. Memorize thoroughly. Note the chords with root omitted. Also with the
3d or 5th omitted. The figures denote the frets.

G7 Chord

Dominant 7th chords in Positions

Have the student study above and check chords without root; also check those withthe
3d omitted, and with the 5th omitted.

Bradbury Banjo Method

Primary Chords

The TONIC I, SUBDOMINANT IV and DOMINANT V of different keys

(Major and Minor)

(1) The Tonic chord is founded on the 1st . degree of the scale.

(2) The Subdominant chord is founded on the 4th degree.

(3) The Dominant ox (dom. 7th) chord is founded on the 5th degree.

These chords, would he played

Forming the Primary Chords of the relative minor.

A m scale (harmonic form) (On the banjo)

When harmonizing chords the progression from one chord to another must be done
smoothly. This means that in general the nearest positioned chord in point of tonality
must follow another chord. See examples (1) and (2).

Ex. (A)

JP l £ I || ^ JP B" 31 This smoothness of progression is obtained

^ g F—" ^ p~~' | ^ lj g EEEl by the use (Ex. A) of connecting tones (com-

q p C C F C mon tones) in the same voice or Ex.(B) where

Poor Correct there is no connecting tone by the use of con-,

trary motion. Thus in Ex. (2) above, C is a common tone, the other voices moving in par¬
allel motion against it. Contrary motion is the progression of two or more voices in
opposite directions.

C F C
Correct

Contrary motion.

Ex.(B)

At? G

The above rules cannot always be adherred to on a banjo but
on general principles always take the nearest positioned chord
when chording.

One chord harmony may be repeated in its different positions however Ex.(C) first or
second measure

Ex.(C)

C --

When playing melody and chords of course
the chords must be arranged in playabe com¬
bination with melody.

Bradbury Banjo Method

Primary Chords

(Inversions)

SERIES I

MAJOR (RELATIVE KEYS) MINOR

(Lines signify connecting tones)

Bradbury Banjo Method

SERIES II

Key of C major

MAJOR

Primary Chords

(RELATIVE KEYS)

Key of A minor

MINOR

At major

^ i

Bt major

El» m F7

F minor

Gminor

Gm A7

(Lines signify connecting tones.)

Bradbury Banjo Method

Primary Chords

SERIES III

(RELATIVE KEYS)

MAJOR MINOR

(Lines signify connecting- tones.)

Bradbury Banjo Methoc

MAJOR KEY

Signature CFG 7
1 sharp G CD 7
SsharpsD G A 7

3 >> A D E 7

4 > > E A B 7

5 „ BE Fi 7

6 i> F# B c* 7

7 „ C# Fl Gt 7

Chart showing primary chords

of Relative major and minor keys
riVE MINOR KEY MAJOR KEY

RELATIVE MINOR KEY

A m D m E 7
E m A m B 7
B m E m Fi 7
F B m Ci 7
C| m F* m Gt 7
G# m Cf m D # 7
D# m Gim At 7
A|m D j|m Ei 7

1 flat F Bt C 7

2 flats Blr Et F 7

3 » Elr At Bt 7

4 „ Air Dt Et 7

5 » D|» Gt At 7

6 ». Gt Ct Dir 7

7 >, Clr Ft Gt 7

RELATIVE MINOR KEY

D m Gm A 7
G m C m D 7
C m F m G 7
F m Bt m C 7
Bt m Et m F 7
Elr m Atm B t 7
Alr m Dtm Et 7

Common modulations using the dominant 7th chord, and inversions

The modulation tonic to dominant.

Transpose into all keys

Am c 7

Am C 7

Am c 7

Bradhury Banjo Method

Dominant Ninth Chords

(Chords of the ninth)

A chord composed of five tones as follows :

Root - Major 3d - Perfect 5th - Minor 7th - Major 9th

Example (On the banjo)

A dominant ninth chord being of dominant harmony generally resolves to its tonic.
It often however resolves to a dom. 7th chord, that being resolved, see Ex. (B)

See examples of ninth chords as in Piano examples also.

Examples

Diminished Triads and Diminished Seventh Chords

A diminished triad or diminished seventh chord is a combination of two or three
minor thirds respectively. (A minor third is an interval of three half-tones.)

A diminished seventh chord then is composed of

Root — Minor 3d — Diminished 5th — Diminished 7th

The sign of a diminished chord is the circle o thus:

A a diminished seventh chord is a combination of minor thirds it divides the chro -
matic scale (12 semitones) into four eqdal minor thirds, therefore only three different
combinations exist in reality, as each new inversion formed on one of the tones in the
fundamental chord combination is equivalent to the original. It may be written enhar
monically however. Enharmonic means the different name of a tone of the same pitch.
Examples.- Et is the enharmonic of Df or G# is the enharmonic of At.

Bradbury Banjo Method

The most practical way of writing diminished chords is by the enharmonic notation.
As noted in the example given (C® 7 ) it contains too*many accidentals to be easily read-
ible. That same chord would more often be written enharmonically as a D# 07 or F#°7
chord,thus:

Ex. (A)

Futhermore as a diminished chord is a combination of minor thirds any note in the
chord may be called the root or name of chord as by its position t thus:

Ex.(B)

These chords are all in reality the same chord written in different ways and posi¬
tions. As each one of the three diminished 7th chords has four tones (therefore four
roots, if so considered in their positions) the three different diminished 7th chords com¬
pletely utilize the chromatic scale of 12 semitones. They may be divided then into three
series, thus:

SERIES II: SERIES III:

C# (or) Dk° Do

E° Fo

Go Gf 0 (or) Ato

A»o (or) Bto Bo

SERIES I:

D#° (or) enharmonically Et»°
F#° (or) enharmonically Gb°

Note that the 3 string formations of the diminished triads and diminished sevenths
have the same L. H. fingering positions as the dominant 7th chords without root. So the
way to determine whether a chord having only the three tones is a diminished or a dom¬
inant chord is to determine the missing or fourth tone. The 4th tone will determine
the harmony, thus:

Chord (1) might he taken for either a diminished or dominant chord hut when the 4th
tone is determined it gives the harmony which if it were G makes it a dominant 7th (G 7 )
if G4 it makes it a diminished 7th chord. (Gf 07 )

On account of the diminished 7th chord’s peculiar formation there are in reality
also only three different practical L.. H. fingering formations on the hanjo, as noted
above. Therefore as any tone in a diminished chord can he considered the root, whenyou
place any one of the above three formations on the desired tone (or name of chord) you
have the diminished chord by that name. To help in the proper use of the diminished7th
chords, all the common modulations are hereby given (for banjo chords) using inversions.
Note the close tonal positions and contrary motion as they progress to the next chord
wanted.

Bradbury Banjo Method

Common modulations using the Diminished 7th chord,and inversions

The modulation tonic to dominant. '

Transpose into all keys

C c # 07 D m C Cl 07 j)ti

The modulation from minor key to relative major.

Transpose

The modulation from minor key to dominant of its relative major.

Transpose

Am E°7

Ani E°7

Note that in above modulations the dim. 7th chord is founded on the leading tone to
whatever chord follows.

Bradbury Banjo Method

Augmented Triads

An augmented triad is a major triad with an augmented fifth. (Fifth raiseda semitone)
The cross (+) is used to signify an augmented chord.

Example of C + triad

C +

An augmented chord is then composed of

Root - Major 3d — Augmented 5th

It is a combination of major thirds and so divides the chromatic scale into major
thirds of four semitones each, therefore it can he formed on the fingerboard in only one
formation, and in reality only four different augmented triads exist.

As an augmented chord is a combination of major 3ds the four different triads com¬
pletely harmonizing the chromatic scale, any note in the chord may be called the root or
name of chord. They may be divided into four series as follows:

SERIES I:

C+

E+

Gf + (or) Al> +

SERIES II:

C# + (or) Dl> +
F4
A +

SERIES III:

D +

F# + (or) Gb +
At + (or) Bi>+

SERIES IV:

D# + (or) El>+
G +

B +

Augmented Triads

(Adapted to the banjo)

* (Enharmonically A#+)

Bradbury Banjo Method

As before stated an augmented chord has only one fingering and is therefore easy to
play. The examples show this to be true. All inversions have the same fingering and it
is best used on the banjo as a 3 string chord.

The most common resolutions of the augmented chord is to its subdominant and to
its relative minor, as follows :

(To subdominant)

-6— If— HF - n

—

% .— n

t==l

p -

(To relative minor)

C+ to A m

P If—»

« . i a tn

C+ to A™

Other Seventh Chords

As well as the dominant and diminished seventh chords in common use we also have
the following sevenths which are used somewhat.

No. I. The MAJOR SEVENTH CHORD, containing

Root ~ Major 3d - Perfect 5th - Major 7th

Used very often with the seventh as a melody or passing tone, Example:

- 1 -n

(Banjo)

(Piano)

1 if

C C A m C
maj.7

I i i M

9 ) nr Am n

C C A m C

maj.7

No. II. The MINOR SEVENTH CHORD, containing

Root — Minor 3d — Perfect 5th — Minor 7th
In other words a minor triad with a minor 7th added. Example:

V 1 _

G m7 j)m7

The seventh is Often a melody or passing tone also. See example (B)

(Banjo)

-M

| - 1

i —f—n

Bradhury Banjo Method

No. III. The DOMINANT SEVENTH CHORD with AUGMENTED FIFTH,
Root — Major 3d — Augmented 5th — Minor 7th

An augmented triad with a minor 7th added. Used practically, and effective only,
with the augmented fifth in the high voice. Example .•

(Banjo)

6 #t

_ w i " m __11

A U

- Tl

- -

-tH)

-li

c+*

Its regular resolution is to its tonic.

See example (B) .

C+* to F

Chart showing the construction of different chords

THIRD

FIFTH

SEVENTH

NINTH

Maj’or triad

major

perfect

—

Minor triad

minor

perfect

—

Diminished triad

minor

diminished

—

Augmented triad

major

augmented

—

Dominant Seventh

major

perfect

minor

—

Chord of the Ninth

major

perfect

minor

major

Diminished Seventh

minor

diminished

—

Maj’or Seventh

major

perfect

major

—

Minor Seventh

minor

perfect

minor

—

Dominant Seventh
with'Augmented Fifth

major

augmented

minor

—

Most Common Resolutions of the Dominant 7th

C 7

resolves

F or

F 7

C# 7

Ff m

Ft 7

G 7

resolves to

C or

C m or

e 7

G* 7

c #m

C# 7

Dl> 7

G!> m

Gt- 7

D 7

G m

G 7

At 7

Dk m

Dl» 7

El> 7

At m

At» 7

A 7

D m

D 7

E 7

A 7

Bt> 7

El» m

El» 7

Bl-

Bl* m

B!> 7

B 7

E m

E 7

F# 7

B m

B 7

Write out chords of the above resolutions for practice.

Bradbury Banjo Method

Progressions of dominant seventh chords

The dominant seventh chords, in popular music especially, often follow one another in
progressions of sevenths in a cycle of fifths, that is dominant to tonic, etc. Example: -
G 7 to C 7 to F 7 . To help the student understand these progressions the following diagrams
will he of use. Note that the progression of dominant 7ths is by the relative keys, relative
keys in this instance meaning those whose signatures differ by not more than one accidental.

Keys B E

D G

Bl> E^

Bradbury Banjo Method

C maj or

Harmonizing the Major Scales

Ascending

G» 'c

G7 C

F major

'f C7

F Bt F Bt C* F
Descending

ROOT

THIRD

FIFTH

SEVENTH

B!>

El>

ROOT

THIRD

FIFTH SEVENTH

The above chart shows major triads and
dominant 7th chords, the letters may he used
to find root of any chord however.

Bradbury Banjo Method

Analysis of Chords from Piano Parts

(Defining the chords)

The system of “tagging the chords” from a piano score is simply the taking* of the
notes in the piano part and getting their proper formation so as to determine the root
and name of chord. After the pupil can select the chords then the task is (o make them 1
progress well one to another, as before stated.

The student must read the bass clef as well as the treble clef> as when grouping the
notes from a piano part to form and name chord one should begin with thd bass and pass
up through the treble.

Also the harmony is often distributed, a chord called an “after beat chord” following
a bass tone, thus:

PIANO

The following scale is given showing the notes in the bass clef.

So if a chord isn’t complete in one beat look for such a distribution of harmony. The
same harmony is often repeated a number of measures. Also a long note may be used
as a connecting tone for different chords.

It is often not feasible to play chords on every beat, sometimes impossible,and when
such occurs, either rest or play single melody notes*

Play three note chords where it is better or more feasible in order to get better connect¬
ing tones, also when on account of a fast change it would simplify and make more practical
the playing of same.

Remember the chords are already there for you in the piano part, your task is to put
them into formation so as to determine root and type of chord.

Bradbury B&njo Method

Nonchordal tones, those tones which are melodic or passing tones only, must be
eliminated. Do not use a melody note unless it is needed to form the harmony.
Example (l).

The tones marked with x are passing tones and not
used to form the chord D7.

The bass note is often the root of chord, but not always so, as any note of the chordal

Accidentals often help to “Tag the chords”

(1.) Two accidentals in the basic harmony (not in passing or melody tones) are a“lead”
for a diminished seventh chord generally. Example (a)

(Note accidentals G# and BlO

G»07

(2.) When a chord harmony contains a major second, thus:

G 7 D 7

it is a“lead”for a dominant seventh chord. The higher tone of the major second interval
naming the chord.

(3.) One accidental in general is a“lead”to a dominant seventh, a minor or augmented
chord.

Bradbury Banjo Method

The cross (x) denotes passing tones in above. It’s a good policy to mark those tones
when marking off music. Also note the major seconds.

Take popular song sheets and piano orchestrations and analysis likewise. It’s the
practice that helps,but after all the real secret lies in knowing the readings of all the differ¬
ent chords. The “cues” and short cuts help but the knowing of the chords” is the sure road
to success.

Relative Keys and Chords

When marking off a piece have in mind the relative major and minor chords of the key
you are working in. Refer to chart of same Page 71. This helps as of course the chords
of the relative major and minor key (the piece is written in) will be in the majority; and
modulations will be generally to those keys in close relationship to these chords.

Sometimes a piano harmony contains a chord without root. In that case the remain¬
ing tones will be your guide. Relationship of the preceding and following chords will
help as well. See lesson for banjo—^Dom. 7th chords without root.

Bradbury Baujo Method

Examples showing 1 banjo chord arrangements of piano parts.

PIANO

BANJO

(Chords)

mrr

♦Note retaining of G the melody note
to give a smoother rendition.

* In the G 7 chord note its change to G
triad the better to approach the G+chord.

Example showing how the relationship of
chords help determine them. F m and C 7 being
the related chords. (C 7 is dom.7th to F m .)

Written actual not. in banjo part.

Example showing the banjo silent on
a melody run; D 9 chord included the melody.

Note the single melody notes so played,

Bradbury Banjo Method

BANJO

j r ii i

Jr- J J J J

Vfffri

J — 1 -M

wise chords in 1st pos. (D 7 and G) would
be well.

©_©

i j ^ ^

a m

E ?

D* © © ©

G»

G 7

pi f IWM

*—►

In second measure note the two
accidentals— cue for a dim.7th chord.

Crosses (®) above denote melody tones
which were included in banjo chords, to
advantage in that position, being close
position.

PIANO

BANJO

Chords

dug. f£g

11 jrrjrr i

©-

G 7

Running arpeggio
bass part in piano:

* Note playing of
chords in last measure
same as piano. Better
adapted as such to
varify banjo part.

D 7

mm r 11

r* i 1 . _ l . 1 ._i _ 1 .

G4-
a _

'The first chord shows that when in
close position a melody note can be in¬
cluded to advantage and sound better.
(Avoids a^clashV)

ifl J J J —^

=t=S=t==I

1 J? L o ■■-

x x

)-4j—«

^vavJEv"SE^E«^BmBSS SB ■

rmrraHi

J ||S

■HI

w-wmmm mmmmmwmmm

JH- W.M t*i

HlHflMPBPS

BS^SSBBSSSSSSB

T ' -

EO Efo D 7

rW i f

Note single melody notes so played.

Bradbury Banjo Method

This example shows a dom. 7th
chord being used for a 9th chord
to simplify it. Just so used in
certain positions on the banjo,
where the ninth "cannot be taken
as the higher note, or melody tone
if such.

Practice inverting the chord acc. in above examples of the banjo parts, playing the
chords in different positions.

Playing from Tenor-banjo parts

The playing from tenor-banjo scores can be accomplished in a like manner. Adapting
the chords from the tenor-banjo part to the banjo is in reality though much less complica¬
ted than from the piano score. As tenor-banjo music is written in dispersed harmony,
while banjo music is written in close harmony it many times simply means the (i) lowering’
of the higher note in the tenor-banjo chord an octave, or the (2) raising of the lower note an
octave, to have the chord as played on the banjo.

Bradhury Banjo Method

SELECT CONCERT SOLOS

BANJO SOLO

solo Banjo Crooning* Song

Finger tremolo Dedicated to W Leroy Ulrich, Hartford^Conn.
Andante cantabile '

FRANK C. BRADBURY.

Tremolo notes with stems turned up, pick notes with stems turned down.

Bradbury Banjo Method

Ballet and Finale from “La Gioconda”

banjo solo Dance of the Honrs ponchielli

PIANO ACC. Adapted by

Moderato Frank C Bradbury

Br&dbnry Banjo Method

Bradbury Banjo Method

* Take top notes (chords) if playing unaccompanied.

Bradbury Banjo Method

13 B. 1SB.

a i4f2

4P.

2 0 2 Q

Quartet froln

“Rigoletto”

BANJO SOLO

G. VERDI

Arr. F. C. Bradbury

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AskY ZXZ Wm. J. Smith Music Co. Publications

FODEN’S CHORDS FOR BANJO (In C Notation)

The only complete banjo chord book on the market. Containing all the chords and their inversions. Written

in both musical notation and diagram.

NO BAN JOIST SHOULD BE WITHOUT THIS BOOK
Price in U. S. A., 50 Cents

TWELVE RADIO FAVORITES FOR BANJO

finger style c notation
WITH PIANO ACCOMPANIMENT

An unusual collection of melodic solos for concert playing; composed by America’s foremost banjoists.

CONTENTS

Best People on Earth (March)

Flowers of Spain Waltz
Amelia (Waltz Caprice)

The Bell Hop (Dance)

Del Rio Polka
Naval Cadets March

Price in U. S. A.,

The “Turkey Gobbler" Rag
The Joker (Rag)

The Thriller (March)
March—The Conqueror
Xenia (Polonaise)

Famous Jigs and Reels

1.00 Complete

VAN EPS BANJO SOLOS IN C NOTATION

WITH PIANO ACCOMPANIMENT

Here’s a collection that every banjoist will want. These solos range from easy to difficult and are for banjoists
of all degrees of ability. They are arranged exactly as played by Fred Van Eps on the talking-machme records.

CONTENTS

Dixie Medley (Recorded under the
title of “Turkey in the Straw")

The Lobster’s Promenade
Berkeley March
White Star Line March
Jolly Darkies

Medley of Southern Melodies

Price in U. S. A., $1.00

Chinese Picnic

Old Folks at Home (Varied)

Rakoczy March

Grand Duke Waltz

Tyro Mazurka

Rag Pickings

SMITH’S TUNEFUL SOLOS FOR BANJO

finger style in c notation •

WITH PIANO ACCOMPANIMENT

A splendid collection of medium grade pieces arranged by well-known banjoists.

CONTENTS

American Beauty Waltzes
Banjo March Song
Country Fiddler (The)

Dance Medley
Dance of the Butterflies
Dance Magnetic
Field Day March

Forest Dale March
Glendora Waltz
Merry Snowshoers
Romance

Swanee River (Varied)
Love’s Old Sweet Song
Wildwood Memories

Price in U. S. A., $1.00

Ask your Dealer^ WM. J. SMITH & CO., PUBLICATIONS

CJxT forfFie/1

UIT/1R£>

Songs for the Guitar

This collection of Fifty-eight songs includes many old
favorites, and a number of songs botb new and old, wbicb
bave never before been published witb Guitar accompani¬
ment. Several Spanish, French and Italian songs m
original text, splendidly arranged by Fred. J. Bacon, Mr.
and M[rs. Bickford, Wm. Foden, . J.-Kitchener, Geo.
L. Lansing, J. G. Liddicoat, Francis Pofter, Wm, J.
Smith and Walter F. Vreelana.

The accompaniments range in difficulty frdm the
very simplest, suitable for first-grade pupils, to those requiring considerable skill.

Most of these songs are especially adapted for concert use and are very effective
as duets for Violin, Cello, Mandolin or_Mando-Cello and Guitar.

Order one to-day
PRICE ONE DOLLAR

Arranged ZwWeII Known
American Players ^!

Songs for the Banjo

IN C NOTATION

This collection of Fifty-six songs includes many old
favorites and a number never before published with
Banjo accompaniment, arranged by the following celebrated
arrangers and players, Thos. J. Armstrong, Fred. J. Bacon,
Zarh M. Bickford, Wm. Foden, W\ J. Kitchener, Geo.
L. Lansing, J. G. Liddicoat, Francis Potter and W^alter
F. Vreeland.

This is the only song collection for Banjo published
in this country in C notation. The accompaniments are
effective fltid banjoistic, and none of them too difficult for the average performer.

Needless to say, the tune or air in these pieces, though written for voice, may be
carried by Violin, Mandolin, on any leading instrument.

Order one Today

You are bound to be pleased

PRICE ONE DOLLAR

Ask your Dealer

for these

WM. J. SMITH & CO., PUBLICATIONS

Ask your Dealer WM. J. SMITH & CO.. PUBLICATIONS

for these ■■ . . ■■ 1 — ■ 11 " 1 , a mm

Songs for the Guitar

This collection of Fifty-eight songs includes many old
favorites, and a number of songs botb new and old, which
bave never before been published with Guitar accompani¬
ment. Several Spanish, French and Italian songs in
original text, splendidly arranged by Fred. J. Bacon, Mr.
and Mrs. Bickford, Wm. Foden, W. J. Kitchener, Geo.
L. Lansing, J. G. Liddicoat, Francis Pofter, Wm. J.
Smith and Walter F. Vreelana.

The accompaniments range in difficulty frdm the
very simplest, suitable for first-grade pupils, to those requiring considerable skill.

Most of these songs are especially adapted for concert use and are very effective
as duets for Violin, Cello, Mandolin or_Mando-Cello and Guitar.

Order one to-day
PRICE ONE DOLLAR

™' BA n j o

Songs for the Banjo

IN C NOTATION

This collection of Fifty-six songs includes many old
favorites and a number never before published with
Banjo accompaniment, arranged by the following celebrated
arrangers and players, Thos. J. Armstrong, Fred. J. Bacon,
Zarh M. Bickford, Wm. Foden, W. J. Kitchener, Geo.
L. Lansing, J. G. Liddicoat, Francis Potter and Walter
F. Vreeland.

This is the only song collection for Banjo published
in this country in C notation. The accompaniments are
effective and hanjoistic, and none of them too difficult for the average performer.

Meedless to say, the tune or air in these pieces, though written for voice, may be
carried by Vlolin. Mandolin, on any leading instrument.

Order one Today

You are bound to be pleased

PRICE ONE DOLLAR

Ask your Dealer

for these

WM. J. SMITH & CO.. PUBLICATIONS

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